Gallery America

S7 E703 | FULL EPISODE

703: Episode 3: Matt Goad

Over the past two decades, Oklahoma City artist Matt Goad has helped create the look of the modern cityscape, with street signs, logos and beer cans. Now he's tackling his biggest project, a 40,000-square-foot terrazzo flooring at the Will Rogers World Airport expansion. The goal is to tell city history and inspire visitors to see the city as a great modern metropolis bounding with possibility.

AIRED: October 07, 2021 | 0:48:04
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Next on Gallery America. An Oklahoma City artist has long

left his imprint across the state. Now he's taking on his

biggest work yet a 40,000 square foot piece that will be

seen by nearly 2 million people a year, growing up,

Wanting to be a professional artist. You never dreamed that

the biggest project of your life is something everybody's

going to walk on.

Lisa Smallwood can paint realistic photo like

depictions of jazz musicians, but she likes going another

route. Instead,

I want to give a little bit of detail, but I'm not going to

go into it completely. I'm going to create an illusion to

the brain of like, okay. Wow. You know, oh, he's really

blowing that SAPs.

Ruth Carter is an Oscar winning costume designer

looking to change how African-Americans are seen on

the big screen.

And they're honoring African royalty and the empowered way

women can look and lead on screen.

Hello, Oklahoma. I'm Robert Reed and welcome to gallery

America. The show that gets you into creative minds of

great artists of Oklahoma and around the nation. Today we're

meeting Matt goad, an Oklahoma city artists, graphic

designer, musician, whose imprint is already seen all

over Oklahoma city and the state. But now he's tackling

an entirely new medium in a very, very big way. Have a

look

And Matt goes, I am an Oklahoma city resident since

about the year 1990 ish. And, uh, I do visual stuff like art

and graphics. You get people ask me what my style is. And I

guess it's an amalgamation of all the things that I've

always loved. You know, you become a fan of a bunch of

stuff, and then it all kind of gets mixed together and it

becomes who you are. At least that's the way it is for me. I

worked at a, at an ad agency for a few years in the

nineties, and that allowed me to get some of the graphics I

did out in the public where people saw them did the E for

Edmond with the tree in Oklahoma, keep our land grand

going into the trash, the, um, film row logo. I've done the

Midtown vets downtown, uh, elk valley brewery. Well, Eve is

my little girl. She says 1964 Volkswagen type one in a way

unintentionally it's become part of my trademark. I always

love photographing her in front of, uh, a lot of the

cool mid-century structures around Oklahoma. I love the

egg church for so many reasons. It's so dynamic the

way it looks. And when you see it poking up over the trees,

you feel like you're in a star wars movie or something. I

think we got a really good shot with kind of seeing that

curve and the beetle with the curve or the church. I've

never been a good photographer as far as you know, the

f-stops and all that, but I'm pretty good with the iPhone

Ladies and gentlemen, welcome to Oklahoma city. The local

time is 10:07 AM central time. Please keep your seatbelts

fastened until we are parked at the gate.

And it's such a wonderful addition to our airport. The

cup of seen 134,000 square feet of new space and many new

amenities, including a new checkpoint, new airline gates.

You can session spaces in wonderful new art. I'm so

excited for you and all the people of Oklahoma city to see

this new front door to our grace

In 2019, they had a call for entries for artists to submit

for a 40,000 square foot floor. You know, I assumed, of

course, there's no way I could even become a finalist, but it

was word is worth a shot.

Frankly, Matt made the decision fairly easy. I've

done a number of arts selection committees, and

maths was by far the most thoughtful presentation that

I've ever seen. And I think when people come to the

airport and see this, they're going to be wild

Growing up, wanting to be a professional artist. You never

dreamed that the biggest project of your life is

something everybody's gonna walk on.

All I remember. As far as my earliest memories is drawing,

I was always, always had a pencil. My mother was

extremely, uh, supportive, and she's the one that kept the

scrapbook. It's like a time machine, you know, you know,

this could actually be in MoMA now. I mean, I grew up the son

of a traveling preacher, man. We lived in about a different

city every, almost every year. Um, by the time I was 12, I

had lived in, I think, eight states and uh, about 11

cities. Uh, I came to go to school at Oklahoma Christian

in 19 fall in 19 88, 1 of the only schools that had a good

graphic design program. And I didn't know really what that

was at first. It was, but they said it's something to do with

art and you can get a job. And so that led to an internship

with a real design studio. And that was when my eyes were

opened to this. Isn't just a job. This is awesome. This is

like, you know, this is wow. Super cool.

I'm a big fan of a mid century. Modern, if you

couldn't tell righty, the aesthetic of it is to me, just

something that's, it's a positive. It's like I'm

looking forward in a positive way to the future. And that

always makes me happy. So I don't ever really say I paint

paintings. I say, I build paintings because the way I

do, it's not like a normal painter in the classical

sense. It's like an architect draws it out. And then you

build the house from the drawings. As far as how I do

my work, I always, it's always an idea. And then it becomes a

sketch. All of these are, uh, like mental notes to myself. I

can do 50 of them and I might like two. So, but once I have

one that I like, I cannot stop working on it. Usually I'm

like giggle, you know, I'm fun. What I do is I I'll take

that line drawing. Um, and I will bring it into the

computer and make a stencil out of it. Yeah. I'm kind of a

jet. I was read the illustrator, still got some

tape. I've got it ready and in a little bit of stencil. So

then what I'll do is put a clear just over those spots,

then I'm going to prime it.

And then once I have that stencil built, that's when the

color comes in For me, color is the hardest part. That's

why it's the most fulfilling. When I feel like I've

accomplished it.

I call this checker boarding and it's kind of where you

don't have a color touching. Exactly. It's almost like a

square dance of colors that happens in my paintings. It's

it's funny how every color has its own little personality.

How it, how it behaves. Some are more opaques. Some are

just beautiful. It's kind of like people

Pain is going to be intense, like boy Scouts. That's my

joke. Get an intense

Matt is the coolest guy. I know. And he, he doesn't even

know how cool he is and that's why I love it.

I think we needed some bigger artists to give the space

legitimacy so that we could be a platform for more emerging

artists. And I always had the dream of having an original

Matt goad. Really the only guidance we told them was big,

as long as it could fit through the door. I feel like

the more you look at this piece, just the more you

discover little nod to the Dali clock in the corner And

the submarine and the infinity couple It's very much

I think I love it. I think I'm in A little touch up here and

there. My perfectionism is a compensation for the craziness

in my head

So terrazzo is a medium it's 2000 plus years old. What it

is is it's a mixture of a bunch of different rocks that

are all kind of mixed together in a binding agent. And they

all have different colors, a lot of public buildings and

public facilities have it. Everyone's seen it. It's

beautiful. And you can roll your luggage on it with these

maybe January 20, 20, they started to put in the metal

strips. So once I saw those going in, that's when I kind

of got to see how vast this was. It's every part of that

project started with the little doodle and, uh, I knew

that I wanted to have will somewhere in it over here,

he's tipping his hat to the visitor saying welcome to

Oklahoma city.

I tried to break it down into what represents the cultures

of Oklahoma and the, uh, you know, I thought sports, music,

hospitality, and then places, of course, the goal is to kind

of just give them an excitement that you're in a

world-class city. And they, a glass curtain wall represents

the sky. If you know, Oklahoma and all, you know, we're a

weather center and each symbol represents a different weather

event. And if you go around, it kind of creates a flow.

Yeah, I still, um, can't really grasp the reality of

this project for an artist that, you know, wasn't really

great at school was kind of okay at drawing. I don't know.

I still am pinching my stove. Well, I hope that when people

come to Oklahoma city and land in that area, they're going to

have an instant, positive feeling about the city.

To see more of mats, our work, visit his website, Matt,

go.com or to follow Eva. The Volkswagen's exploits go to

his Instagram account at Matt goad art. And by the way, all

the music you heard in the story, including these little

bells you hear now is for Matt goads bands, American

boyfriends, and field specters. Next we're going to

Tampa to meet an artist who loves jazz musicians and

paints them, not by what they look like, but how their sound

makes her feel.

My name is Lisa Martin Smallwood, a K a Lee RC. I'm

originally from Philadelphia. I'm currently, I'm living out

here in Tampa bay and I, uh, visual artists. Um, I worked

with different mediums, such as ink, pastel, and acrylic.

The style is more like impressionistic. It's like,

I'm making a suggestion. Okay. And I'm going to give a little

bit of detail, but I'm not going to go into it

completely. I'm going to create an illusion to the

brain of like, okay, wow. You know, oh, he's really blowing

that sex. What a trumpet, or, you know, playing that piano.

Like my Nina Simone, I love Nina, you know? And the, the

shades that I use suggests that is abstract, but at the

same time, it has a surreal, surreal feel to it. I can

paint some, a painting and make it look like a

photograph, but I like to experiment and to project, you

know, um, the feeling that it gives me,

I think what really separates Lisa from other artists is

that she really adds depth and passion into her artwork. And

I think also the use of colors to capture the ambience and

give the viewer that, that in depth expression so that they

feel like that they're actually a part of that piece.

It's Jason here. Hey Jerry. Hey, how are you, Lisa? I'm

good. I got my Risa Franklin piece. Jason, how's it going?

Excellent. How are you? I'm good. Thank you. My favorite

art place is one of my favorite places. I love that

piece. You and me both. I wish she would sing it to us right

now. Well, you knew I was saying, but I don't do that.

They have welcomed me into this establishment. I mean, to

see the whole production is like to me, a class trip and

they work on my art. They treat it great. They do my

reproductions now, why are you rotating it basically. So the

highlights

From the, from the shiny metallic geeks, right? I first

met Lisa, uh, while she was doing a live painting exercise

in our gallery in St. Petersburg, we had a musician

playing there and she was painting him live as he

played. And I was just blown away by what she did. Uh, so

we talked her into coming.

She showed me some of her artwork, which I fell in love

with immediately. And we just kept talking about artwork. We

hit it off right away. Uh, she ran into a situation where she

needed a framer, uh, to have a piece fixed up. And she came

out to visit us and met the team and saw our operation and

was very impressed. Oh, that looks

Good.

And then we'll get a shot. So once we get the artwork

captured in the color, correct, then we can spread it

out onto a myriad of things, depending on the venue of

where the artwork is going to be sold, that are displayed

RDSP CT.

I mean, we get her singing

The music, actually. I don't know. It's just like in me,

you know, every guitar, new chip pluck or whatever, it's

like every stroke from me, you know, and that's how the two

come together. Lisa

From Philadelphia and Philadelphia has a music

scene, unlike any others. And her father was in the music

world. And you can just tell that it's in her blood. So

when she paints musicians and performances and that type of

stuff, it just, the paintings sing. You can see the music,

you can feel the energy, you can feel the emotion that

comes out. And I think that that's one of the things that

makes her such a successful artist and makes that her

paintings of musicians so popular.

So my father dowel, small wood, junior B, um, was a

drummer, a native from Philadelphia. And he played

with Johnny styles in the Manhattans, which was a jazz

group back in the 1950s into the sixties. My father was a

great guy and he has really inspired me. And he always

encouraged me to continue to paint. Um, just the memories

and the stories that he would tell me. I try to put myself

there for that moment. Some of the paintings that I have

painted, um, are a lot of times our memories. Um, it

could be his memories that he shared with me and I'm just

painting it out and laying out, you know, everything in

my mind, in my heart that I felt during that thought

process of, you know, processing his story.

I think Lisa's, our work really has a very poetic vibe

to it. And she's actually able to capture those poetic

expressions, which creates a real synergy with her work.

You can just look at it and begin to just talk about it in

a very poetic manner.

This is so beautiful. I hope that my artwork can hatch a

memory. Art is very therapeutic and I just want

people to enjoy what they're looking at and, you know, open

that box of memories

To see more work by visit her website, Lee Aussie

creations.com. Lastly, we're meeting an Oscar winner. This

Massachusetts native has created groundbreaking costume

designs that have been worn by the likes of Oprah Winfrey,

and then seen in films like black Panther meet Ruth

Carter.

This is one of Oprah Winfrey's ensembles from the film Selma

by director Ava DuVernay. One of countless costumes, Ruth

Carter has designed over her 30 plus year career.

We had Oprah's character who was Annie Lee Cooper who had a

scene where she was going to attempt to register to vote.

You worked for Mr. Don down at the restaurant in that ride.

Annie Lee Cooper was a domestic. So I at first gave

Oprah kind of her uniform. And then Ava said, you know, no, I

feel like this is a special occasion for her. Let's have

her tress up in her Sunday best for this. And why would

She have had a approach?

Well, you know, I remember broaches and earrings when I

was a little girl in church. So that's a little bit of, you

know, my heart on it in the costume design

At the new Bedford art museum. This is a collection of

costumes. Carter has personally kept over the years

from her work on the roots, reboot to a polyester panoply

from the comedy dolomite is my name to spike. Lee's

groundbreaking do the right thing all the way to do the

right thing. How overtly political was your work and do

the right thing.

We all knew that we were doing a protest film. This was about

one hot day in New York city. And the colors in do the right

thing are very saturated, almost in a surrealistic form

that at night you could see these colors almost ignite

Carter's career began in Springfield, Massachusetts,

where she interned in a college costume shop. After a

brief spell, as an actress,

I actually could feel how important my wardrobe was to

my, my performance,

Her job, she says is literally in the details, the little

things she does in color fabric and accessories to

manifest a mood,

The aging of the jacket, the billowing of the pockets chews

that are run over all silently tell the story she's like

unmatched in the field. And, uh, just a really, really

special thoughtful

Jamie Jarecki is the museum's curator who spent two years

sifting through costumes, sketches and mood boards. But

her chief inspiration was the designer's Oscar acceptance

speech in 2019 for her work on black Panther, making her the

first black person to win an academy award for costume

design,

Honoring African royalty, and the empowered way women can

look and lead on screen.

I think that her as like a powerful black woman who is

just like, uh, had her hand in, you know, like over 40

films that are in imperative to understanding American

history and the black experience, she makes the

experiences of these people feel real.

When she first started out in Hollywood, Carter says there

was a limit to how black people were portrayed on

camera.

Every time a black person was cast, or they were a gang

banger, or they had their hat turned backwards, or they had

a big gold chain. And there were so many more stories in

the community that weren't being seen.

Carter is now a world away from that time in the world of

Wakanda, the fictional setting of black Panther, her looks

came from deep research into African tribes and influences.

And after the films, blockbuster success Carter's

designs on Wakanda and culture melded into our own.

I hate to tell you, but you can't get to Wakanda. It's

totally made up, but it's kind of an aspirational place. We

want to create that place that you want to go to because it

looks like, you know, the perfect place to spirit

culture that has not been appropriated or has not been

spoiled by, you know, colonization

Spend some time with Carter and you quickly realized she

may be most proud of how much research she's done tracing

the path of indigo from Sierra Leone through generations of

Africans, as she illustrated in roots, noting how tight

Martin Luther king Jr kept his color or sitting down at the

Massachusetts department of correction to read the letters

of Malcolm X

Learning was very important to him. And growth was very

important to him. When I look at Malcolm X, I can see my

intent. The color palette is very vibrant. When he's young

dancer in the dance halls, it kind of washes itself away

with the denim in the prison. And then when he comes out,

it's almost like a black and white film,

Uh, fitting if not poetic description from a woman who

has always been able to dress the part

That's all for this gallery America. But remember you can

revisit past episodes by going to our robust archives at dot

TV slash gallery America. And for daily features of Oklahoma

art news and art exhibits, follow gallery America online

on Facebook and our Instagram account at Otta gallery. Thank

you so much for watching till next time. Stay already

Oklahoma.

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